Patricia Queiruga paints planar structures which appeal immediately to the eye. Her works incorporate an arsenal of expressive techniques, where the locus of energy is confined to no single place, but is activated at every point of the work. Within this geometricized realm the very sensation of centeredness becomes destabilized. Different planes of abstract forms seem to emerge from a painting’s background; and Queiruga’s use of gestural brushwork in places gives off the illusion of objects dissolving in a rush of speed. Figuration is reduced to its barest outline: process is foregrounded so as to give her paintings an emotional charge that less active surfaces would be unable to express.
Tango Pasión (serie de 4) subverts the traditional rendering of a piano by having an almost collage-like sense of spatial depth to it. The visual energy of the work seems to be everywhere at once—moving centrifugally, as opposed to more traditional compositions that move horizontally or vertically. The painting uses cool blues, yellows, red, and black to ensure that the apparent division into partitioned areas feels like a compositional gestalt.